Customer Reviews

Elo 2 (Exp)

5 star:		(6)
4 star:		(7)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

As I'm not an "audiophile" or a professional sound engineer, I'm not going to discuss the merits of "bad EQ" or the engineering expertise of EMI's Peter Mew. As a long-time ELO fan, I will say that I like what I hear on this CD. For those not fortunate enough to procure the "First Light" 2-disk UK edition of ELO 2, this is the next best thing. This was the transitional album from the original experiment of Roy Wood and Jeff Lynne, to the singular vision of Jeff Lynne and what became the "classic" ELO sound in the mid 1970's. Lynne himself said that he created the long pieces on this album because that what he thought he was supposed to do - and some of the tracks do suffer a bit from rambling arrangements. But as Roy Wood was involved in the recording of "in Old England Town" and "From The Sun To The World" and then left to form Wizzard, it may have been that Jeff was trying to carry on in the spirit of his old mate. Where Jeff was left to his own muse ("Mama" and "Kuiama"), the results were spectacular. And the decision to cover "Roll Over Beethoven" was a masterstroke - meld Jeff's beloved Beatles with Beethoven, and really rock the house down. It was the beginning of Lynne's pop music renaissance (from "On The Third Day" to "Out Of The Blue" ELO made some of the 70's most memorable music IMHO).

So let's talk about the "Roll Over Beethoven" version that is on this CD. I've heard from sources close to Jeff Lynne that it was Jeff's decision to go with the original UK version of "ROB" on this CD, edited from the "full-length" version of the song that came out on the US LP, both on United Artists Records, and reissued on CBS. I must say that I was disappointed that Jeff chose the UK version over the US version, as that's the one I'm most familiar with (and prefer). But what can we do - Jeff's the artist, and apparently it's his decision. At least it's only edited by a few seconds - not the complete butchering of the song that was the single version featured on "Ole ELO" and other countless compilations. My other disappointment was the decision to go with the UK version of the album cover instead of the US version. At the least I think the US version should have been included in the booklet (the original blue/black landscape picture is in the booklet BTW). So these two deficiencies drop this release down to 4 stars for me.

But overall I think this is a great version of one of my favorite ELO albums. Those of you who are fans of Harvest Records bands from the early to mid 1970's (Pink Floyd, Pretty Things, Edgar Broughton Band, Roy Harper) will like this CD a lot.

HERE IS THE NEWS

As part of its long overdue upgrading of The Electric Light Orchestra catalog, Epic/Legacy has finally released "2," the second album from these prog-pop pioneers who had promised to "pick up where the Beatles left off with 'Strawberry Fields' and 'I Am the Walrus' back when they were formed in 1971. Not only did they ultimately achieve their goal, but they continued on, breaking new ground sonically and artistically, becoming one of the great bands of all time.

This outstanding re-master of ELO 2 gives us sterling sound, improved graphics, interesting liner notes, and outstanding bonus tracks--all wrapped around the original core of bracingly bold and (mostly) highly enjoyable songs. Founders Jeff Lynne, Roy Wood (who departed midway through the recording of "2"), and Bev Bevan invaded the studio like Vikings bent on conquest and produced a sound that accurately reflects their transition from the darker hues of their earlier band, The Move, to the art-pop sensibilities that later typified the sleek ELO.

"ELO 2" was a pivotal album for ELO as Roy Wood departed in mid-stream (though he plays uncredited on the two "Boogies.") It's wildly experimental, at times rough and barely listenable, but it is a brilliant and stirring piece of work. (We must note: this album is entitled "2" by the ORIGINAL Electric Light Orchestra; it is not the self-titled debut of "The Electric Light Orchestra Part Two.") This early 1973 album is a master work, albeit somewhat flawed by later ELO production standards. It was here that ELO truly became Jeff Lynne's band, and he makes the most of it.

THE SONGS

The album kicks off with what can only be described as a "heavy metal orchestral" piece, "In Old England Town (Boogie #2)," wherein Jeff Lynne paints a disturbing picture of unwelcome and encroaching industrialization. Like fellow Birmingham, England, native J.R.R. Tolkien (who lived more towards the southern end of the River Cole), perhaps young Jeffrey Lynne was troubled by the environmental destruction he was witnessing all around his Shard End neighborhood. While I applaud the band's daring here, the song frankly is a bit too depressing for my tastes, and Lynne's uncharacteristic harsh, barking vocals are somewhat grating. Fitting for the subject matter, perhaps, but not for repeated listening.

However, "Mama" is a lovely pastoral Lynne ballad, with a memorable instrumental break. The strings are dreamy and the Moog accents by newcomer Richard Tandy add intriguing flourishes to the mellow proceedings.

"From the Sun to the Sun to the World (Boogie #1)" is an orchestral rave up and showcases Tandy's piano and synths, and he totally rocks his socks off here. Jeff contributes a memorable, Hendrixian smoking guitar solo. This is probably the wildest cut on the album, and it's my favorite; numerous mood and tempo shifts, recurring classical motifs, and near-out-of-control whirling dervish playing make this a jam for the ages.

Of course, for many, the favorite is "Roll Over Beethoven," which is the perfect marriage of orchestra with retro-rock and it struck pretty big on the charts worldwide. It remains popular today, and is the definitive version of that oft-covered tune. And, man, does it ever cook with fire. The arrangement and production are pure genius and reflect Lynne's "everything-including-the-kitchen-sink" aspirations at their zenith. I would describe it as "Eight minutes of melodic, cacaphonous, swinging bliss."

"Kuiama" is a very ambitious prog-rock tune that lumbers along at times, soars celestially, and ultimately breaks your heart. It's unlike anything ELO has done since, and bears repeated listenings. Kudos to Bev Bevan for his perfect drumming on that tune and througout this entire album. Wilf Gibson's violin solo is stunning on "Kuiama."

THE BONUS SONGS

One of my favorite ELO songs is included here as a bonus: the instrumental version of "In Old England Town," which is a tad more melodic than it's vocal counterpart and judiciously edited to a little less than three minutes. Wilf Gibson's violin work is a highlight. The rare "Baby I Apologise" is another bonus track; a silly, somewhat unfinished piano boogie sung by Jeff in a pseudo-soulful voice. The other alternate takes included here are interesting to hear, if not totally necessary.

RECOMMENDATION

This whole album has a very experimental air, and saw the band stretching its legs like never before or since. If the only ELO you know is from pop radio, you might give ELO 2 a spin; it contains some really fine progressive rock. (Also look for the UK import expanded edition THE LOST PLANET which contains two discs with impressive contributions from the Move's Carl Wayne and T. Rex's Marc Bolan.)

If I were introducing someone to The Electric Light Orchestra, I might not give them this album first, but if I saw that they were the kind of person who appreciated a bit of progressive daring, I would make sure they got to hear this rough gem. More than 30 years after its first release, it's still making waves.

The recent care and beautiful attention that has been afforded the music of one JEFF LYNNE and his band THE ELECTRIC LIGHT ORCHESTRA is nothing short of dream come true stuff for me and many millions of fans worldwide. The people below who left those inane reviews have an agenda. They have personal grudges. Their views are idiotic and juvenile and I'm doing my little bit to right this wrong.

They talk of "Hiss" and "EQ" as if they know and respect what these things are. They don't. If you read their posts carefully they actually can't spell!! I'd say "EQ" had to be spellchecked?I'm also saying "they" but I don't think we'd be far wrong in thinking this is the work of one spotty cretin with a big box of tissues, heavy curtains and a 15 watt bulb.....?

"The Electric Light Orchestra" (No Answer) and "ELO 2" sound the way God intended to me and "God" is JEFF LYNNE. He has the final say over "HIS" product and that man has never ONCE had his radar off kilter.....NEVER!! I bought these records in the seventies and the vinyl sounded fantastic. I've purchased re-issues, cassettes, 8-Tracks and all manor of different variations of these records and yes, the longer those shoddy re-issues kept coming the more I went back to my vinyl BUT.....

.....ever since ROB CAIGER and a dedicated core of people set out on finding original master tapes and getting the original artist and players involved, THEN also convincing a HUGE conglomerate like SONY to take notice, ELO's back catalogue is only NOW beginning it's rightful accent to were it belongs.

I'm as big a fan of this music as is humanly possible and I've recorded and released my own records to critical acclaim over the last 10 years or so, I KNOW "EQ", "COMPRESSION" and bloody "HISS" so listen to this.....

THESE C.D's ARE..........DEFINITIVE!! Well done Peter Mew, Rob, the 2 Jeff's, Lynn and everyone else involved.

$11.98 eh.....? I'd pay $1111111111.98 for them.

Love - Thomas Walsh. (Dublin, Ireland.)

P.S.....Just thought I'd say that I will paste and post this review at the "No Answer" section too.....

Where do these people get off saying this album is no good? Perhaps I'm biased in favor of Jeff Lynne and ELO, but I think ELO II is the best sounding of the whole remaster series thus far (A New World Record and/or Out of the Blue will likely change that). Baby I Appologize is a fantastic bit of Electric Light Orchestra history. It's simply just Jeff Lynne having fun with his music, and I think it fits perfectly with the other 5 original tracks. The instramental take of In Old England Town just plain rocks, as does its take 1 alternate, and the Roll Over Beethoven alternate. Again, I've gotta ask, where is this bloody noise reduction foolishness everyone keeps complaining about? ELO is arguably one of the best sounding bands ever, and I feel they've never sounded better (maybe with the exception of live shows) than they do on the remasters. I highly recommend the rest of the existing remaster series, along with ELO II and the soon to be released "On the Third Day," "Face the Music," "A New World Record" and including "Out of the Blue" and even "Balance of Power" which'll both be out sometime in 2007 I believe.

This is one of my favorite Electric Light Orchestra albums. It is also the first album with Jeff Lynne solely at the helm. Roy Wood had left the band in a power struggle with Lynne, and Lynne took over the band as songwriter and leader (a position he has held ever since). Most longtime ELO fans know they started as a prog rock outfit before going pop in their later albums (which isn't a bad thing, necessarily). This is the most epic, prog rock album they ever did, with a mere five tracks, all with extremely long running times. The best song here is Kuiama, which runs just over 11 minutes. Lynne's vocal is quite moving, and the lyrics, while occasionally preachy (it's an anti-war song), are very good. Despite the length of the song, it's never boring. It has an excellent violin solo in the middle of the song that's got a touch of free jazz to it. I wished that ELO had one more prog rock album before going to shorter, tighter song structures. Mama is excellent, but I really like the long version of Roll Over Beethoven. Now, reportedly the version on the reissue of this album is 30 seconds shorter than the version released on the original LP. Supposedly, this was according to Jeff Lynne's wishes. I have the original LP with the long version on it, and if there are people interested in hunting down the original version of the song on CD, try finding ELO's first box set, Afterglow. It has that song (and three other songs from this album alone). One has to express the wishes of the artist, but not necessarily agree with them. He should have included both versions.

This album is a must for any ELO fan, and it should be required listening for prog rock fans, as there is much to enjoy here. ELO was just as ambitious as any prog rock outfit during their time. Their later albums are great (and there are some masterpieces), but this is a fascinating time capsule, and it's really good music as well. It's probably the least known of ELO's albums, which is a shame, as it's very, very good.

I know there are versions of ELO's "Roll Over Beethoven" that are about 4 and a half minutes (45 RPM), but there are two longer versions that are out there too. The original "full version" is 8:09. But this CD of "ELO II" gives us the shorter long version that clocks in at 7:04. This is very disappointing to me because I've always had the longer version on vinyl. Since, the age of the CD, the eight minute version is harder to find. Especially since they don't list the time lengths on the outside of the CD jewel box. I have gotten the eight minute version of the double CD of "Strange Magic: The Best of Electric Light Orchestra" and in my Rhino box set of "Supernatural Fairytales: The Progressive Rock Era".

However, the rest of this album is very cool. ELO was going through some transitions early on before they really hit it big on pop radio. Their first album was lead by Roy Wood who left the band right after their first album "No Answer". You wouldn't know that you were listening to ELO when you play this album but I still love it. It's a dark, progressive album and very unique from beginning to end. Jeff Lynne became lead on this album of "ELO II" which was an FM rock favorite for the more adventurous rock stations back in the early seventies. By the time ELO made their fourth album "Eldorado", this is where they enjoyed some charted pop success with "Can't Get it Out of My Head". Their fifth album "Face the Music" is probably their more important album. This is the one album that got me hooked on FM Rock radio. Because, no longer was I just listening to and buying pop 45's. I was now hearing, not only longer hit songs, but even non-hit tracks from albums that made me look at the work of the artists more than just some "one hit wonder" that use to be all that radio was (although I do miss those innocent K-Tell Hell novelty pop years now).

I've collected all of the Electric Light Orchestra's albums from 1971 to 1984. With the exception of one. Oddly enough, ELO's highest charted album is one that I just can't stand. I hated and I still can't stand ELO's 1979 album "Discovery". This was the wimpiest, crappiest music ELO has ever done. With the exception of "Don't Bring Me Down", the rest of the album just totally sucks. I've got "Don't Bring Me Down" on a "Best of" collection, so "Discovery" is totally dissed by me.

And yet, strangely enough, their next two albums afterwards* ELO's "Time" and "Secret Messages" from the early eighties were totally awesome! It's very hard to mix up all of ELO's work because they really have had some extreme changes in their sound over the years of their career together. But, ELO is great. I never get tired of their albums.

On this album of "ELO II", there is a bonus track called "Baby I Apologize". It's a fabulous lost gem.

*Olivia Newton John and ELO's 1980 album "Xanadu" really isn't worth mentioning as an ELO album. I give that album to Olivia.

i picked this up on ebay really cheap. a couple of the tunes appear to be a little bit too long. however, this is cool music i would recommend to those who like sgt pepper era beatles or meddle and darkside era pink floyd. kuiama is an awesome tune as is their rendition of roll over beethoven. the bonus songs are cool too (baby i apologize)

At last, justice is done for ELO II CD. Many years hearing band sound but good music in this masterpiece and now we got great sound too, and finally can enjoy this CD in all ways.

Honestly I'm not going to get into the debate here about using Sonic Solutions "No Noise" to reduce tape hiss on these master recordings. The truth is they went through so many overdubs that I suspect tape hiss might have been an issue. To my ears these sound extremely good. While ELO's second album isn't quite as daring as the first nor as melodic as the third it features a number of classic Lynne songs. it featured a collison between Chuck Berry and Beethoven that hadn't been heard before with "Roll Over Beethoven" featuring sections of Beethoven's 5th Symphony as part of the piece.

There are two great bonus tracks on here. The first is an alternate version of "Roll Over Beethoven" with Lynne laughing, making farting sounds with his mouth as we hear the strings kick in. This version has a bit more energy and sense of abandon. It's amusing and also a great listen. "Baby I Apologize" is a tune that Lynne was writing for someone else and was recorded as a demo to teach whomever that person was the song. Lynne notes in his comments that he doesn't recall who he was writing it for. We also get an instrumental mix of "In Old England Town" and the first take alternate mix of the same track. That rounds out the bonus tracks.


If you're looking for the full length version of "Roll Over Beethoveen" that was on the original US release this version isn't quite it. From what I recall the U.S. version ran about 7:45 minutes and this version runs nearly 30 seconds less. Still, it sounds terrific.
The album itself is still great with the rumbling "In Old England Town" and smooth melodic strains of "Mama" opening the album (and taking up much of the first side of the original vinyl version as well). The second side opened with (if memory serves) "From the Sun to the World" which is only beat by the epic "Kuiama" (after hearing it Lynne's father asked him if he could write something with a "melody" and that he would probably sell more records if it was more melodic and straight forward. He was right and Lynne did just that with the third album).

I'd highly recommend this early effort just keep in mind it resembles the ELO people know from "New World Record" only superficially as Lynne kept wanting to progress and try different things.

A few opening words: I come not to speak of the sound on this remastered version--after all, I have only heard the orignal CD release, for which Amazon apparently has no listing now--, neither to do I come to indulge myself in the controversy over the differing versions of Roll Over Beethoven-- again, I have not heard it--, no, I come simply to talk about... THE MUSIC.
As is the implication, this is the Electric Light Orchestra (ELO)'s second released album, from early 1973. Consisting of only 5 tracks, it might not seem like much of an "album" when one first picks it up and looks it over. With the understanding that these tracks are extremely lengthy-- not one of 'em under six minutes, and the longest over 11--, and that we are, of course, dealing with a work originally released on the LP record format, where the work could barely exceed 45 minutes, things tend to snap into perspective, to clarify: this is NOT a normal album of music; of course, no ELO record is (and perhaps this is the reason for the love-it-or-hate-it aura carried by the band?), but this one in particular is odd. It's very different from anything else this group has ever done, it has "experiment" written all over it in massive, scrawling, and bold letters. How the listner responds this may depend on a number of issues: the preconceived notion that ELO is inferior material must be dismissed and, at optimum, the listner should have an open mind and a rampant and unfettered sense of adventure, exploration, and experimentation. Of course, as with any album, some tracks will be stronger--that is more appealing to the individual in question-- than others; personally, I don't think, even having yet to hear all of this group's work (it won't be long, I can assure you!), this anywhere near their best work; certainly it is nothing on the warhorses of the mid-70s: Eldorado, Face the Music, New World Record, and the climactic, Out of the Blue. Yet, I feel it has its own appeal, and I can instantly pick out certain tracks the I just LOVE...
1: In Old London Town (Boogie #2). In an interesting sequencing decision, this track, subtitled "Boogie #2, is appears as the first track on the album, while the one labled as "Boogie #1" (of which I will speak later on) is placed as track four; but no matter the logical inconsistancies of its placement on the album, it's a WONDERFUL way to start off; it grabbed my attention from the word GO, and lyrically, musically, and in terms of arrangement and production (6:54, and not a second wasted!), it is outstanding, not just on this album, but in ELO's catalogue to date. Lynne's vocals are fantastic, the subject matter holds appeal for me (and hey, REALLY NICE lyrics, which is not something one says a lot about ELO, in honesty), the melody and blending of instruments is as good as it gets , and, personally, I just don't buy the assesment of those who say it is too depressing for repeat listening; aside from the great subject matter, lyrics, and performance, it just grips me musically in a way few tracks do (the Eldorado Overture would be another example, as would the Beatles', 'Rain'); an all-around great way to start of the album. It sucks you in and does not let you go for almost seven minutes, through its entire marvelous arrangment).
2: Roll Over Beethoven. NO, it's not the 2nd track on the album's running order, but it is another favorite of mine, so I'm talking about up front (keep this in mind as I jump from track to track). Written and originally recorded by Chuck Berry (another favored artist of yours truly) in 1956, it is, if one thinks about it, the ultimate rock 'n' roll song for the Electric Light Orchestra to cover: it has classical music-related subject matter, and is a GREAT rock 'n' roll song; both of these qualites define the VERY best of ELO, and this blend of two very different musical genres is the backbone of ELO, at least the earlier stuff, and was certainly the genesis of the group. As expected, this cover version, running at over 8 minutes, at least on the orginal American CD release, is BRILLIANT. The vocals, the instrumentation, the performance, the production, the pure, RAW energy; Richard Tandy's keboard passes, the soaring violins of Wilf Gibson, backed by the cellos of Mike Edwards and Colin Walker, the rock solid (and more!) drums of Bev Bevan, and Jeff Lynne's astonishing guitar work (at least coming from him, don't get all over me about, you Clapton and Hendricks buffs!) come together to make an incredible track (as far as I can gather, the end of side one on the original LP release). Perhaps the best cut off the album... perhaps!
3. From the Sun to the World (Boogie #1). It's really something of a toss-up as to whether I prefer this or Kuiama more. While the latter has epic brillance to a fine art (and does it ever rock 'n roll? great lyrics too!), the former, aside from ELO's trademark odd but throughly fun and enjoyable lyrics (they kind of leave you wondering too, when will the sun really burn out? Not in any of our lifetimes, still, we can't help but wonder...), has this amazing groove to it, and probably (apart from Roll Over Beethoven), the best arrangement of any song on the album. It is sheer early ELO brilliance! Just thinking of it gets me going... possibly even more than actually listening to it.
The epic, Kuiama, makes its mark as a great and complicated finnale for the album (in fact, I might venture to say the arrangment is slightly too long, but I'll let it slide) and as a killer rock 'n' roll love song/tasteful tragedy of sorts. It moves, gives a heck of a fun ride, and leaves you wanting more ELO all at the same time. 11:19 seconds? Honestly, I can believe it... but it's still a great song, if eclipsed a bit by certain others (see above).
This leaves, Mama/Momma, depending where in the world you are. I am tempted to say it's the weakest cut off the album, but it really does improve for me with repeat listens (before writing this, I listened to it all-the-way through about 3 times, replayed the last three tracks for good measure, and studied the lyrics online for a bit, as they can be hard to make out amidst the strings, and the echo applied by Jeff Lynne at times). It (Mama) is certainly a fine tune, with a nice lyric, melody, arrangment, and the instruments are mixed and blended well as usual. Still ,it does lack some appeal for me that's hard to place for sure. I also sort of feel that way towards, Kuiama, but not nearly to such an extreme; that is still surely a GREAT number.
Anyhow, no it isn't really for newcomers (Eldorado, Out of The Blue, New World Record, and Face the Music will do fine for them for the time being), it's not really their best in my opinion, but it is what is: very good, thoroughly enjoyable, and sporting five rather lengthy, at least very good tracks easily valid for listening and re-listening by fans of the Electric Light Orchestra. 4/5